Vertimus

I agree; sharp, almost too clear. 
 
Honestly, I think most creators strive for artistic vision today over pleasant listening experience, and that includes filmmakers too, which is why so much of today's art fails and fails to reach a sizable audience of any kind. Look back to the great Golden Age of Hollywood when films were routinely geared towards a general public, and yet masterpiece after masterpiece was produced, and the writers, actors, and directors were still allowed to put some of their signature creativity into their work. 
 
I think Lana's rise and success--as well as the respect she's received from her peers in the industry--is due to her being a genuine artist with an authentic vision. Sometimes she creates middle-of-the-road songs like Tomorrow Never Came, Arcadia, or Margaret but the balance of her work is very visionary, like When the World Was at War, 13 Beaches, Gods & Monsters, Money Power Glory, Ultraviolence, Cola, Bel Air, Heroin, Swan Song, and Old Money among others.
 
It's difficult to hear those songs and then just walk away from Lana as an artist. No one else is doing what Lana is doing or 'world building' the way she is in terms of her vision. 
 
 

I agree; sharp, almost too clear. 
 
Honestly, I think most creators strive for artistic vision today over pleasant listening experience, and that includes filmmakers too, which is why so much of today's art fails and fails to reach a sizable audience of any kind. Look back to the great Golden Age of Hollywood when films were routinely geared towards a general public, and yet masterpiece after masterpiece was produced, and the writers, actors, and directors were still allowed to put some of their signature creativity into their work. 
 
I think Lana's rise and success--as well as the respect she's received from her peers in the industry--is due to her being a genuine artist with an authentic vision. Sometimes she creates middle-of-the-road songs like Tomorrow Never Came, Arcadia, or Margaret but the balance of her work is very visionary, like When the World Was at War, 13 Beaches, Gods & Monsters, Money Power Glory, Ultraviolence, Cola, Bel Air, Heroin, Swan Song, and Old Money among others.
 
It's difficult to hear those songs and then just walk away from Lana as an artist. No one else is doing what Lana is doing or 'world building' the way she is in terms of her vision. 
 
 

So Lana is singing Blues Skies?
 
I prefer the Jim Reeves version to those by Ella Fitzgerald, Sinatra, and Willie Nelson. 
 
Based on The White Cliffs of Dover, can we assume it's going to be a jazz version a la the Fitzgerald version? I can see the wisdom in that since it was composed as jazz. 
 
It's an American Classic too; I wonder if Lana considered it for that fabled album that may never see the light of day. 

I agree; sharp, almost too clear. 
 
Honestly, I think most creators strive for artistic vision today over pleasant listening experience, and that includes filmmakers too, which is why so much of today's art fails and fails to reach a sizable audience of any kind. Look back to the great Golden Age of Hollywood when films were routinely geared towards a general public, and yet masterpiece after masterpiece was produced, and the writers, actors, and directors were still allowed to put some of their signature creativity into their work. 
 
I think Lana's rise and success--as well as the respect she's received from her peers in the industry--is due to her being a genuine artist with an authentic vision. Sometimes she creates middle-of-the-road songs like Tomorrow Never Came, Arcadia, or Margaret but the balance of her work is very visionary, like When the World Was at War, 13 Beaches, Gods & Monsters, Money Power Glory, Ultraviolence, Cola, Bel Air, Heroin, Swan Song, and Old Money among others.
 
It's difficult to hear those songs and then just walk away from Lana as an artist. No one else is doing what Lana is doing or 'world building' the way she is in terms of her vision. 
 
 

I still don’t think we’ll get the album until 2025 
 
I think she’ll so do droplets (the sound track with Jack, maybe another unreleased, a song with Nikki Lane) but full album I don’t see coming this year 

I really want another summer album…I can’t believe we haven’t got a proper summer release since LFL (NFR too but late august is more fall to me)
 
I really hope we at least get a single for this prior to the summer, but considering it’s clearly still actively being worked on I would say this is probably coming earliest like September?

According to her latest Instagram story, she stated that she’s getting together with Jack this week to do some songs, so she’s actively working on LDR10!

Has anyone else noticed how much Dido's White Flag sounds so much like something from BTD? Yet it's from 2003. 

To me, BD X CN, I Tried To Love You is his best so far, really sad, melodic, and haunting, but also very simple. Enjoy it. 

Me too. How quickly Stans brushed it aside. 

Check out a new song called I Tried To Love You by Coyle Girelli. Brilliant. 
 
It's from the album Museum Day, and I also love Swim, New York Rain, Nobody, So Predictable, Real Life, and The Girl from the same record. 

She looks terrific. 

As things stand, I do not understand what actually drives the popularity of Lana's various albums, in the scientific sense. There has to be more to it than 'mere taste.'
 
For example, we don't know how much a thriving community in constant contact with one another like we have here actually influences people's choices, likes, and dislikes.
 
I'd like to see a genuine experiment that would accurately reflect how people would react to her various albums if the listeners were in a vacuum, isolated from one another, and so unable to influence one another and unable to read reviews online. 
 
I can see why some would not respond well to Sweet Carolina coming from Lana. I can understand the dislike of the name-dropping title track, which I also dislike, and the hate for the YouTube rips, which one us proved by showing the actual poor aural quality compared to the new tracks. I can understand some thinking she was exploiting Black Lives Matter, or that mentioning it was just poor judgment on her part, but it's not at all clear to me why Stans reject or don't respond to Textbook, Arcadia, BBS, IYLDWM, Dealer, WFWF, and VFR but love most of the, to me, substantially lesser tracks on NFR! and COTCC. 

As things stand, I do not understand what actually drives the popularity of Lana's various albums, in the scientific sense. There has to be more to it than 'mere taste.'
 
For example, we don't know how much a thriving community in constant contact with one another like we have here actually influences people's choices, likes, and dislikes.
 
I'd like to see a genuine experiment that would accurately reflect how people would react to her various albums if the listeners were in a vacuum, isolated from one another, and so unable to influence one another and unable to read reviews online. 
 
I can see why some would not respond well to Sweet Carolina coming from Lana. I can understand the dislike of the name-dropping title track, which I also dislike, and the hate for the YouTube rips, which one us proved by showing the actual poor aural quality compared to the new tracks. I can understand some thinking she was exploiting Black Lives Matter, or that mentioning it was just poor judgment on her part, but it's not at all clear to me why Stans reject or don't respond to Textbook, Arcadia, BBS, IYLDWM, Dealer, WFWF, and VFR but love most of the, to me, substantially lesser tracks on NFR! and COTCC. 

Personally, I can't imagine how any Lana Stan could hear 'Arcadia,' 'Black Bathing Suit,' 'IYLDWM,' 'Violets For Roses,' 'WFWF,' ' and 'Text Book' and not respond enthusiastically and deeply, even if 'Black Bathing Suit' is on the fun upbeat side---it's a pure pop song. 'Dealer' is fun and doesn't try to be anything other than what it is. The other previously-leaked songs are some of her best from that catalog, even if they were "ripped off Youtube" and weren't remastered, etc. (or not). 
 
We all agree there's no accounting for taste. But. The entire BB album being thought of a third-rate musically lyrically, and in terms of her voice and performance reminds me of how a great deal of people don't respond to '13 Beaches' and/or 'Heroin,' and prefer (to me) unchallenging songs like 'Love Song' or 'How to Disappear.' 
 
I DO think there's been a lot of bandwagon-jumping with this album, in this case, jumping off instead of on. It's almost as if an initial "buzz" goes out into the ether, collective unconscious, or wider world (including TikTok, Reddit, YouTube, other Lana boards, etc.), which is Thumbs Up or Thumbs Down, and a great many people are swayed by that and remain so. Study advertising, sociology, and psychology if you want to learn how the majority of people in any given situation can be swayed to like, hate, or support almost anything, from witchcraft in Europe and early America or the rise of Hitler, Trump, or Biden. And NO—I'm not comparing those who love Norman and OC to Hitler or Trump. 

We saw that with Norman and we see it again now with Ocean Boulevard, both in the affirmative. 
 
The truth is no one knows exactly how it works but advertisers are nonetheless able to harness it. I'm not saying it's done with intent or purpose with Lana or Lorde or 21 Pilots—it's a spontaneous and mysterious process. 
 
And yes, I'm as subject to it as anyone else. That's one of the points of life, NOT to be manipulated by media, the majority, and your own unconscious processes. 

As things stand, I do not understand what actually drives the popularity of Lana's various albums, in the scientific sense. There has to be more to it than 'mere taste.'
 
For example, we don't know how much a thriving community in constant contact with one another like we have here actually influences people's choices, likes, and dislikes.
 
I'd like to see a genuine experiment that would accurately reflect how people would react to her various albums if the listeners were in a vacuum, isolated from one another, and so unable to influence one another and unable to read reviews online. 
 
I can see why some would not respond well to Sweet Carolina coming from Lana. I can understand the dislike of the name-dropping title track, which I also dislike, and the hate for the YouTube rips, which one us proved by showing the actual poor aural quality compared to the new tracks. I can understand some thinking she was exploiting Black Lives Matter, or that mentioning it was just poor judgment on her part, but it's not at all clear to me why Stans reject or don't respond to Textbook, Arcadia, BBS, IYLDWM, Dealer, WFWF, and VFR but love most of the, to me, substantially lesser tracks on NFR! and COTCC. 

As things stand, I do not understand what actually drives the popularity of Lana's various albums, in the scientific sense. There has to be more to it than 'mere taste.'
 
For example, we don't know how much a thriving community in constant contact with one another like we have here actually influences people's choices, likes, and dislikes.
 
I'd like to see a genuine experiment that would accurately reflect how people would react to her various albums if the listeners were in a vacuum, isolated from one another, and so unable to influence one another and unable to read reviews online. 
 
I can see why some would not respond well to Sweet Carolina coming from Lana. I can understand the dislike of the name-dropping title track, which I also dislike, and the hate for the YouTube rips, which one us proved by showing the actual poor aural quality compared to the new tracks. I can understand some thinking she was exploiting Black Lives Matter, or that mentioning it was just poor judgment on her part, but it's not at all clear to me why Stans reject or don't respond to Textbook, Arcadia, BBS, IYLDWM, Dealer, WFWF, and VFR but love most of the, to me, substantially lesser tracks on NFR! and COTCC. 

As things stand, I do not understand what actually drives the popularity of Lana's various albums, in the scientific sense. There has to be more to it than 'mere taste.'
 
For example, we don't know how much a thriving community in constant contact with one another like we have here actually influences people's choices, likes, and dislikes.
 
I'd like to see a genuine experiment that would accurately reflect how people would react to her various albums if the listeners were in a vacuum, isolated from one another, and so unable to influence one another and unable to read reviews online. 
 
I can see why some would not respond well to Sweet Carolina coming from Lana. I can understand the dislike of the name-dropping title track, which I also dislike, and the hate for the YouTube rips, which one us proved by showing the actual poor aural quality compared to the new tracks. I can understand some thinking she was exploiting Black Lives Matter, or that mentioning it was just poor judgment on her part, but it's not at all clear to me why Stans reject or don't respond to Textbook, Arcadia, BBS, IYLDWM, Dealer, WFWF, and VFR but love most of the, to me, substantially lesser tracks on NFR! and COTCC. 

Whose birthday was it...? Yesterday was my birthday and Rob Lowe's is on 3/17. 

And thank you for that too. I had a wonderful celebration. 

Thank you!
 
Thank you! 

Whose birthday was it...? Yesterday was my birthday and Rob Lowe's is on 3/17. 

She looks terrific. 

She looks terrific. 

She looks terrific.